HUMAN FIGURES

hroughout his lifetime, Alfons Walde took inspiration from the natural beauty of his native Tyrol, but just as much so fromthe local people and culture. Many inhabitants were farmers, and they were the subject of many of his paintings. Thesepaintings feature a characteristic mannerism traceable to many of Walde’s works, namely that of depicting his humansubjects as a “function” of their natural environment. He chose a style that leaves his human figures, be they in motion orstanding still, virtually lifted of their individuality, one that emphasized the harmony of human beings as an active part oftheir natural environment instead. The sketch-like technique that Walde used to represent human faces are a distinctelement of this style. Around 1926, Walde’s artistic intention developed a new focus. It was no longer the genre-induced “comfortable scenario”that interested him, as he turned instead to a conception of man rooted in the concepts of work, fate and daily existence(See especially his works Holzknecht [Lumberjack], Bauernmutter [Farmer Mother] and Ofenbank [Oven Bench]). With respect to both theme and form, Walde’s work is probably most closely related to the figural work of the Austrianartist, Albin Egger-Lienz. However, Walde’s living scenes retain a decidedly more positive note, as he preferred not toapproach “life and death” subjects directly in his paintings – something that Egger-Lienz did ever more frequently in hislater work. A quote attributed to Gustinus Ambrosi: “No person with an understanding of your (Walde’s) art would possibly compareyou to Egger-Lienz. I mean, he (Egger-Lienz) may also have the large surfaces, but he doesn’t have the form. You have thenecessary youth, the strength to pursue form.”

Walde responded: “I would never deny that Egger has had an influence on me. I hate lying… but I made those smallpaintings with themes of farm life at the age of 18, before I even knew Egger.”

Farmers on the table “Bauern am Tisch (Wirtsstube)”, around 1928

Oil on cardboard, 21.06 x 23.62 in (53,5 x 60 cm)
Österreichische Nationalbank

Ovenbench “Bauernstube (Feierabend)”, 1928

Oil on Cardboard, 19.29 x 26.77 in (49 x 68 cm)
Museum Kitzbühel

Northtyrol “Nordtirol”, 1928

Tempera on paper, 35.43 x 98.42 in (900 x 2.500 mm)
Museum Kitzbühel

Southtyrol, 1928

Tempera on paper, 35.43 x 98.42 in (900 x 2.500 mm)
Museum Kitzbühel

The Farmer´s Sunday “Bauernsonntag”, 1927

Oil on Cardboard, 20.47 x 15.67 in (52 x 39,8 cm)
Museum Kitzbühel

Farmer-Woman“Bäurin”, around 1924

Oil on cardboard, 14.17 x 9.45 in (36,8 x 24 cm)
privately owned

Farmer “Bauer”, around 1924

Oil on cardboard, 14.17 x 9.45 in (36,8 x 24 cm)
privately owned

Farmer´s Way Home “Bauer auf dem Heimweg”, around 1924/25

Oil on Wood, 13.58 x 15.55 in (34,5 x 39,5 cm)
privately owned

The Meeting “Begegnung”, around 1924

Oil on canvas, 43.31 x 51.18 in (110 x 130 cm)
Leopold Museum Collection

Churchsteps “Kirchenstiege”, around 1924

Oil on cardboard, 15.35 x 13.58 in (39 x 34,5 cm)
privately owned

The Way to Church“Kirchgang”, around 1935

Oil on cardboard, 15.55 x 13.98 in (39,5 x 35,5 cm)
privately owned

Soldier on Leave “Auf Urlaub”, around 1928

Oil on cardboard, 10.24 x 8.86 in (26 x 22,5 cm)
privately owned

Sunday in Tyrol “Sonntag in Tirol”, around 1923

Oil on cardboard, 9.45 x 8.66 in ( 24 x 22 cm)
privately owned

Masks in the Snow “Masken im Schnee”, 1926

Tempera on cardboard, 10.63 x 8.66 in (27 x 22 cm)
privately owned

Carneval in Tyrol “Fasnacht in Tirol”, around 1926

Tempera on cardboard, 13.78 x 6.89 in (35 x 17,5 cm)
privately owned